Creek Series Quotes

She headed for a wide flat rock on the creek's bank, her posture still demanding 'no trespassing' but no longer 'trespassers will be shot.

This is my heart on CRACK." Robin when she sees Creek

I always thought 'love at first sight' was silly and incredibly irresponsible. Then, you came along and you flipped it on me. I understand it now. I do! ~Sheriff Derrick Decker

Life is a series of choices that we make, some of them are good, and some of them are not, but everything always works out in the end.

You hurt me all the time. You just don’t always leave bruises.

But usually not. Usually she thinks of the path to his house, whether deer had eaten the tops of the fiddleheads, why they don't eat the peppermint saprophytes sprouting along the creek; or she visualizes the approach to the cabin, its large windows, the fuchsias in front of it where Anna's hummingbirds always hover with dirty green plumage and jeweled throats. Sometimes she thinks about her dream, the one in which her mother wakes up with no hands. The cabin smells of oil paint, but also of pine. The painter's touch is sexual and not sexual, as she herself is....When the memory of that time came to her, it was touched by strangeness because it formed no pattern with the other events in her life. It lay in her memory like one piece of broken tile, salmon-coloured or the deep green of wet leaves, beautiful in itself but unusable in the design she was making

The berth belongs to you too. It will always be there when—if you want to come back.” Inej could not speak. Her heart felt too full, a dry creek bed ill-prepared for such rain. “I don’t know what to say.” His bare hand flexed on the crow’s head of his cane. The sight was so strange Inej had trouble tearing her eyes from it. “Say you’ll return.” “I’m not done with Ketterdam.” She hadn’t known she meant it until she said the words. Kaz cast her a swift glance. “I thought you wanted to hunt slavers.” “I do. And I want your help.” Inej licked her lips, tasted the ocean on them. Her life had been a series of impossible moments, so why not ask for something impossible now? “It’s not just the slavers. It’s the procurers, the customers, the Barrel bosses, the politicians. It’s everyone who turns a blind eye to suffering when there’s money to be made.” “I’m a Barrel boss.” “You would never sell someone, Kaz. You know better than anyone that you’re not just one more boss scraping for the best margin.” “The bosses, the customers, the politicians,” he mused. “That could be half the people in Ketterdam—and you want to fight them all.” “Why not?” Inej asked. “One the seas and in the city. One by one.” “Brick by brick,” he said. Then he gave a single shake of his head, as if shrugging off the notion. “I wasn’t made to be a hero, Wraith. You should have learned that by now. You want me to be a better man, a good man. I—“ “This city doesn’t need a good man. It needs you.” “Inej—“ “How many times have you told me you’re a monster? So be a monster. Be the thing they all fear when they close their eyes at night. We don’t go after all the gangs. We don’t shut down the houses that treat fairly with their employees. We go after women like Tante Heleen, men like Pekka Rollins.” She paused. “And think about it this way…you’ll be thinning the competition.” He made a sound that might almost have been a laugh. One of his hands balanced on his cane. The other rested at his side next to her. She’d need only move the smallest amount and they’d be touching. He was that close. He was that far from reach. Cautiously, she let her knuckles brush against his, a slight weight, a bird’s feather. He stiffened, but he didn’t pull away. “I’m not ready to give up on this city, Kaz. I think it’s worth saving.” I think you’re worth saving. Once they’d stood on the deck of a ship and she’d waited just like this. He had not spoken then and he did not speak now. Inej felt him slipping away, dragged under, caught in an undertow that would take him farther and farther from shore. She understood suffering and knew it was a place she could not follow, not unless she wanted to drown too. Back on Black Veil, he’d told her they would fight their way out. Knives drawn, pistols blazing. Because that’s what we do. She would fight for him, but she could not heal him. She would not waste her life trying. She felt his knuckles slide again hers. Then his hand was in her hand, his palm pressed against her own. A tremor moved through him. Slowly, he let their fingers entwine.

You hurt her and I'll hunt you down and kill you with a shovel,

had stalked and extorted her for years, he had felt pity

It just felt right. Does that make sense?” She didn’t wait for an answer. “Just being with you…it was…” “Like home.” It wasn’t a question, but it didn’t need to be because Evan was exactly right.

Thank you?” “For everything,” she said. “Just for being you. For being here. For loving me.” He shook his head softly before reaching up and holding her hands in his hands. His eyes shone, but he looked directly into hers when he said, “Baby, I love the fuck out of you.

Son of a bitch!" Cash erupted. "He's wearing Nate's guns." Reese had been too occupied gazing into those eyes to notice the oddity of a gun belt strapped around a naked waist. Cash was right. Those were Nate's pretty pearl pistols. Reese had never liked those guns. He liked them even less now. "Sullivan, ask him where he got those," Cash demanded. "What gave you the idea I can speak Comanche?" "Because you are one?" "You're a jackass, but I don't expect you to talk to a donkey." "This is no time to be funny, breed." "Then quit trying so hard.

More than anything I want to be your husband, Cam. I want to walk beside you every day for the rest of our lives. I want to fall asleep beside you and wake up to your beautiful face. Your heart is the only one that’s ever captured me so completely and you would make me the happiest man in the world if you agreed to be my wife.

When I was shipwrecked recently, for instance, I had the fortune to wash aboard a barge where I enjoyed a late supper of roast leg of lamb with creamed polenta and fricassee of baby artichokes, followed by some aged Gouda served with roasted figs, and finished up with some fresh strawberries dipped in milk chocolate and crushed honeycomb, and I found this to be a wonderful antidote to being tossed like a rag doll in the turbulent waters of a particularly stormy creek.

The sun glanced off a long, wicked looking knife in the Comanche's grip. At least Cash wouldn't have long to mourn. The other Indians held similar weapons, but they hung back as their leader knelt next to Sullivan. He muttered something, low and guttural, a single syllable that sounded like an insult, then picked up a lock of Sullivan's hair. The knife descended toward his scalp. "No!" Reese shouted. "Me." The Comanche paused and stared at him with a spark of interest, almost admiration. But that couldn't be since the Indian had no idea what Reese was saying. He continued to try anyway. "Me first." He struggled, wishing he could use his hands to point at himself. "Shut the hell up, Reese," Sullivan said. "What possible difference does it make who they kill first?" "Who knows what might happen. While they're working on me, anyone could show up and save the rest of you." "In that case, me first," Cash drawled. "Me." "No. Yo primero!" "Kid, I'm the only one without a wife and far too many children. No one would miss me." "I would." The words were punctuated by the distinct sound of a rifle being cocked. All eyes turned toward the man who had appeared at the edge of the clearing. Cash's sigh of relief was in direct contrast to the sneer in his voice. "About damn time, Rev. We've been waitin' on you.

The color-patches of vision part, shift, and reform as I move through space in time. The present is the object of vision, and what I see before me at any given second is a full field of color patches scattered just so. The configuration will never be repeated. Living is moving; time is a live creek bearing changing lights. As I move, or as the world moves around me, the fullness of what I see shatters. “Last forever!” Who hasn’t prayed that prayer? You were lucky to get it in the first place. The present is a freely given canvas. That it is constantly being ripped apart and washed downstream goes without saying; it is a canvas, nevertheless. But there is more to the present than a series of snapshots. We are not merely sensitized film; we have feelings, a memory for information and an eidetic memory for the imagery of our pasts. Our layered consciousness is a tiered track for an unmatched assortment of concentrically wound reels. Each one plays out for all of life its dazzle and blur of translucent shadow-pictures; each one hums at every moment its own secret melody in its own unique key. We tune in and out. But moments are not lost. Time out of mind is time nevertheless, cumulative, informing the present. From even the deepest slumber you wake with a jolt- older, closer to death, and wiser, grateful for breath. But time is the one thing we have been given, and we have been given to time. Time gives us a whirl. We keep waking from a dream we can’t recall, looking around in surprise, and lapsing back, for years on end. All I want to do is stay awake, keep my head up, prop my eyes open, with toothpicks, with trees.

I set my coffee beside me on the curb; I smell loam on the wind; I pat the puppy; I watch the mountain. My hand works automatically over the puppy’s fur, following the line of hair under his ears, down his neck, inside his forelegs, along his hot-skinned belly. Shadows lope along the mountain’s rumpled flanks; they elongate like root tips, like lobes of spilling water, faster and faster. A warm purple pigment pools in each ruck and tuck of the rock; it deepens and spreads, boring crevasses, canyons. As the purple vaults and slides, it tricks out the unleafed forest and rumpled rock in gilt, in shape-shifting patches of glow. These gold lights veer and retract, shatter and glide in a series of dazzling splashes, shrinking, leaking, exploding. The ridge’s bosses and hummocks sprout bulging from its side; the whole mountain looms miles closer; the light warms and reddens; the bare forest folds and pleats itself like living protoplasm before my eyes, like a running chart, a wildly scrawling oscillograph on the present moment. The air cools; the puppy’s skin is hot. I am more alive than all the world.

Live water heals memories. I look up the creek and here it comes, the future, being borne aloft as on a winding succession of laden trays. You may wake and look from the window and breathe the real air, and say, with satisfaction or longing, “This is it.” But if you look up the creek, if you look up the creek in any weather, your spirit fills, and you are saying, with an exulting rise of the lungs, “Here it comes!” Here it comes. In the far distance I can see the concrete bridge where the road crosses the creek. Under the bridge and beyond it the water is flat and silent, blued by distance and stilled by depth. It is so much sky, a fallen shred caught in the cleft of banks. But it pours. The channel here is straight as an arrow; grace is itself an archer. Between the dangling wands of bankside willows, and Osage orange, I see the creek pour down. It spills toward me streaming over a series of sandstone tiers, down and down, and down. I feel as though I stand at the foot of an infinitely high staircase, down which some exuberant spirit is flinging tennis ball after tennis ball, eternally, and the one thing I want in the world is a tennis ball.

Driscoll preached a sermon called “Sex: A Study of the Good Bits of Song of Solomon,” which he followed up with a sermon series and an e-book, Porn-again Christian (2008). For Driscoll, the “good bits” amounted to a veritable sex manual. Translating from the Hebrew, he discovered that the woman in the passage was asking for manual stimulation of her clitoris. He assured women that if they thought they were “being dirty,” chances are their husbands were pretty happy. He issued the pronouncement that “all men are breast men. . . . It’s biblical,” as was a wife performing oral sex on her husband. Hearing an “Amen” from the men in his audience, he urged the ladies present to serve their husbands, to “love them well,” with oral sex. He advised one woman to go home and perform oral sex on her husband in Jesus’ name to get him to come to church. Handing out religious tracts was one thing, but there was a better way to bring about Christian revival. 13 Driscoll reveled in his ability to shock people, but it was a series of anonymous blog posts on his church’s online discussion board that laid bare the extent of his misogyny. In 2006, inspired by Braveheart, Driscoll adopted the pseudonym “William Wallace II” to express his unfiltered views. “I love to fight. It’s good to fight. Fighting is what we used to do before we all became pussified,” before America became a “pussified nation.” In that vein, he offered a scathing critique of the earlier iteration of the evangelical men’s movement, of the “pussified James Dobson knock-off crying Promise Keeping homoerotic worship . . .” where men hugged and cried “like damn junior high girls watching Dawson’s Creek.” Real men should steer clear. 14 For Driscoll, the problem went all the way back to the biblical Adam, a man who plunged humanity headlong into “hell/ feminism” by listening to his wife, “who thought Satan was a good theologian.” Failing to exercise “his delegated authority as king of the planet,” Adam was cursed, and “every man since has been pussified.” The result was a nation of men raised “by bitter penis envying burned feministed single mothers who make sure that Johnny grows up to be a very nice woman who sits down to pee.” Women served certain purposes, and not others. In one of his more infamous missives, Driscoll talked of God creating women to serve as penis “homes” for lonely penises. When a woman posted on the church’s discussion board, his response was swift: “I . . . do not answer to women. So, your questions will be ignored.” 15

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The Black Creek Series Book

Well, it didn’t feel very good to have half of our mystery spoiled for us. We found out that Barry and Eagle Eye had made it up between them that Eagle Eye was to put on a wig and do what he had done, just to give us an adventure in that Indian cemetery.

Derrick, you have to make the air move out of her tummy. You are not assaulting her. You're saving her from a stomach ache. ~Anne Howard

The Winter Rescue,

our loved ones are there for all of our special times, even if we can’t see them.

to

The first campsite is at mile 7.0 (6,180), but it is small and does not have a nearby water source. The trail continues climbing, following a series of switchbacks until reaching a bench known as Lenny’s Rest in honor of Eagle Scout Leonard Southwell, at mile 7.9 (6,543). There is an intersection here with Indian Creek Trail #800, a single-track sometimes used as an alternate to Waterton Canyon. The trail then descends, crossing Bear Creek at mile 8.7 (6,177). This is the last reliable water source until the end of Segment 1 at the South Platte River. There are several good campsites in this area. At mile 9.8 (6,689) the CT begins to parallel and then occasionally cross West Bear Creek. There is a good, dry campsite at mile 11.8 (7,309) near leaning rocks. The trail continues climbing to a ridge at mile 12.6 (7,517), the segment’s highest point. From here, the CT descends 4 miles before reaching a gentle, grassy slope on a hillside with possible campsites at mile 16.6 (6,240) offering the convenience of river water a short distance below. Travel another 0.2 mile before reaching Douglas County Rd 97 and the South Platte River Trailhead, the end of Segment 1, at mile 16.8 (6,117). From here, the trail continues over the river on the Gudy Gaskill Bridge, the last water for over 10 miles. Due to private property, there is no camping along the river.

Tethered to the past by phantom chains of longing. Tethered to a place by illusions of belonging. Tethered to a girl who left without a glance. Tethered to a life that never had a chance.

When you have anxiety, you don’t feel like a normal person. You feel like an oddball, like a freak. Like you’re the only one who isn’t right in the head.” He nods which spurs me on. “Take the number three, for instance. It looks like half of the number eight. Eight is perfect and round and complete; three looks like half of it, so the number three is a freak.” “Go on,” he says. “The number five is sort of a backward version of three, so it’s a backward freak, which is freakier than a freak.” “What about the number seven?” “Seven looks like an upside-down number one when it has a foot at the base. Upside down is as bad as backwards.” “And the number nine?” he wants to know. “Upside-down six.” “Why can’t the number six be an upside-down nine?” “Because six comes first, so nine has to be an upside-down six,” I explain. “And you find comfort in these numbers because they’re imperfect?” “I can relate to them.” Then I drop the bomb of my reasoning, “Odd numbers are just as important as even numbers, they just aren’t perfect.” “Like odd people are just as important as perfect people, huh?” “Just like that.” “I’m mighty glad you stopped by, Amelia,” he says, sounding like he really means it. “You are? Why?” I wonder if he wants to cancel his daughter’s beading lessons or something?

The creek was South Indian Creek. When the settlers moved in, they liked the Indian's names better than they liked the Indians.

The chart will show water depth in most larger creeks, and anywhere you note good depths of five feet right against the shore approaching a junction of two creeks or a creek and a river, you can bet there will be linesiders hanging around.

trails could be seen, ejecting

You made your choices and I’m going to make mine. That’s how life goes, right? We’re all responsible for our own happiness.